Titlebook: Dance in the Field; Theory, Methods and Theresa J. Buckland (Senior Lecturer, Head of Depa Book 1999 Palgrave Macmillan, a division of Mac

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Ballerina

The ,: a Dynamic Documentation of the Choreographic Process of Kokuma Dance Theatre, an African-Cariy dancer and choreographer, Peter Badejo (1993, p. 11), the term avoids the monolithicism of ‘African dance’ (see Kealiinohomoku, 1997 [1969–70/1983], p. 18) and has become common usage among people fighting for greater appreciation and promotion of African-derived dance, particularly as a theatre-dance artform.

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Past and Present in Field Research: a Critical History of Personal Experienced image, the researcher aims to draw his or her construct as near to that first-order reality as possible. Paradoxically, then, this subjective activity focuses on the production of ‘objective’ and ‘a(chǎn)uthentic’ documents.

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Capturing the Dancing: Why and How?ext, gender issues, ritual, or some other topic, the movement involved should, at an appropriate juncture, enter the discussion; sophisticated movement analysis may not be necessary, but statements relating to movement are relevant, indeed critical, to a broad array of dance ethnology studies.

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Susan Y. Ritter,Gailen D. Marshall Jr.risk of incurring MacRae’s further dictum that anthropologists (like other tribes made up of warring moieties) ‘unite before any outside threat and are appropriately savage to intruders or threatening groups’ (1969, p. 562).

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